4,550 words
©,1994
"Understanding the Galdrabók & Creating Original Designs"
by Greg Crowfoot
PART 1:INTRODUCTORY CONCEPTS, TERROR-STAVES, DREAM-STAVES
AND THEIR CONSTRUCTION
Introduction
The Galdrabók is a collection of Icelandic grimores, or
magical texts, dating from the 16th to 17th centuries. The
Galdrabók presents modern-day rune magicians with a wide
variety of magical designs. Among them are several versions
of the famous 'Ćgishjálmur', or "Helm of Awe."
As a whole, the Galdrabók utilizes traditional Northern
symbology combined with a western European influence (which
reflects the joint effect of Old Norse and Christian-Era
culture upon the history and traditions of Iceland). But the
Galdrabók's designs go well beyond those of the traditional
bind-rune formulae we are generally familiar with. Even a
passing glance at the spells of the Galdrabók will impress
anyone familiar with rune-magic of their high degree of
sophistication and the potential power designs like them
could have in magical operations.
Several books discuss the Galdrabók either in its
entirety or in excerpts: "THE GALDRABÓK" as translated by
Stephen E.Flowers, and "NORTHERN MAGIC," by Edred Thorsson.
 The problem for the rune magicians of today is that in
many cases the Galdrabóks' designs are so complex and so
abstract that they defy easy understanding. This makes it
difficult, if not impossible for rune-magicians to employ
designs of similar complexity and power for their own
workings. This was certainly the case when I first
encountered "THE GALDRABÓK". Even one of my first
instructors in the northern tradition was intimidated by it,
and was unwilling to even attempt a decipherment of its
enigmatic forms. According to him, the keys to the
composition of the Galdrabók's designs had been lost and
could not be recovered. I did not accept that idea and
subsequently embarked on an effort to find them.
After considerable private study, I arrived at a number
of methods that I believe allow an understanding of many of
the designs presented in "THE GALDRABÓK" and will make the
construction of original forms possible.
Originally, my methods of 'decipherment' were
incorperated into my own groups' advanced runic studies-
class (as presented in our formal training program). These
methods are by no means the only ones which allow the
creation of Terror-staves (Óttastafur), Dream-staves
(Draumstafur), "Super-binds" or workable "Helms of Awe"
(Ćgishjálmur). I invite input from anyone who has followed a
different course and arrived at a successful conclusion.
Basic Principles of Sigil-Magic and the Galdrabók
 As I interpret them, the designs contained within the
Galdrabók are essentially a combination of classic 'Sigil-
Magic' and standard runic-formulae taken to the extreme.
The Icelandic magicians who composed the Galdrabók were
certainly familiar with both bodies of knowledge and I
believe that they combined them when they composed their
designs. Therefore,it is only through an understanding of
these two forms of magic and how they interact together in
the Galdrabók, that I feel that it will begin to yield up
its secrets.
To accomplish this, we must examine the basic
principles of Sigil-magic and how they were employed by the
Icelandic magicians. For those who are already familiar
with such techniques, I must beg your indulgence and direct
your attention to the points where Sigil-magic and
Galdrabók designs intermarry. For others who are less
familiar with this subject, and desire to undertake a deeper
study, I recommend Frater U.D.'s excellent work, "PRACTICAL
SIGIL MAGIC."
In classic Sigil-magic, normal written characters (such
as the Latin alphabet) are often modified in order to
conceal their true form. This has two purposes; to prevent
recognition of the spell's intent by others who might
'psychically tamper' with it, and to prevent the magicians'
conscious mind from being able to introduce doubt into the
equation.
Rigid letter-forms used in Sigil-magic may be changed
into rounded forms, 'mirrored' or re drawn in new rigid
forms. Often, these modified characters are then combined
into a single symbol, in much the same manner as a bind
rune (see my Diagram 1).
Diagram 1:Modified Letter-Forms (Latin Characters)
Icelandic magicians employed both Norse runes and Latin
characters in their binds and as a further departure,
altered them into rounded, mirrored or modified rigid-
forms (please see my Diagram 2). I believe that their
inspiration for these forms came from a knowledge of
runic variant-forms and the principles of basic Sigil-work.
Diagram 2: A Modified Bind Rune
In Diagrams 3 and 4, I have supplied a table of the
runes as they appear in the Elder Futhark, followed by
variant-forms which I believe were utilized by the authors
of the Galdrabók in the composition of their rune-spells.
While the majority of variant-forms I have presented in
Diagrams 3 and 4 are taken directly from source material
("FUTHARK" and "RUNENMAGIE"), a small percentage of them
have been extrapolated by me from existing variant-forms
(based upon the rules for modifaction of a character as
imposed by standard Sigil-magic). Where possible, these are
identified with an asterisk(*).
In addition to modifying the shape of the runes, the
authors of the Galdrabók did not limit themselves to the
standard number of runes we normally associate with bind-
forms. Although they were carefull to compose their rune
spells in accordance with northern numerolgy, they
commonly employed dozens of runes in what I call "Super-
binds"(please see my Diagram 5 for an example of a "Super-
bind").
Diagram 5: A "Super-bind"
Another Sigil-magic practice also played its part in
many Galdrabók spells. This was the addition of pictographic
images.
In the pictographic method of Sigil-magic, a simplified
image is used to help express a magical intent and the
desired result. For example, a stick-figure is drawn to
represent the person intended by the magician as the
'target' of the spell. The stick-figure is then
surrounded or combined with magic symbols which invoke the
appropriate forces into the 'targets' sphere of existance.
Like letter-forms, this magical 'cartoon' can be modified
until it is no longer easily recognized.
The Terror-stave on page 88 of "THE GALDRABÓK" (and my
Diagram 6) is an excellent example of the pictographic
method in use. Looking at the Galdrabók material as a whole,
it would seem that the pictographic method of Sigil-magic
was quite popular with medieval northern sorcerers.
Diagram 6: A "Terror-stave"
"Magic-sqaures" also had an important place in northern
magic. A magic sqaure for those who are unfamiliar with
them, is a grid composed of letters or numbers which
correspond to a particular diety, planetary force or mystic
'phrase'. Magic sqaures can be used by themselves as a
talisman. They can also be the key for an incantation,
or used to create a magic symbol.
 The "SATOR" sqaure is one the most famous of these
magic sqaures. It uses letters, rather than numbers in its
grid. Some experts believe that it was origionally a
Christian charm, using letters from the first words of the
Lord's Prayer "Pater noster" and "A"(alpha) and "O"(omega),
to create "SATOR". Others believe that the sqaure had its
origions in Qabalistic magic. In the "GREATER KEY OF
SOLOMON" it is depicted as the Second Pentacle of Saturn,
adding up to the numerical value of "IHVH" (or the
"Tetragrammaton").
The "SATOR" sqaure may have other roots however. Sven
Ulfsson postulates that "SATOR" may be the correllate of
Sćter, a lesser-known Germanic diety who was later adopted
by the Romans and 'Latinized' into 'Saturn'. Saturn or
Cronos (as he was known to the Greeks) was the father of the
Olympians and the God of Time. Because of these creative
aspects of Cronos, Ulfsson feels that Sćter may have been
another name of Volund, the Smith. He points out that many
medieval magicians were also smiths and their use of the
"SATOR" sqaure may have had deep meaning to them for that
reason.
Nigel Pennick also equates Sćter with Saturn, but he
links Saturn with Loki instead. Loki the Trickster (like all
other Trickster figures we encounter in the world's
mythologies) is on the one hand a chaotic force, and on the
other a helping 'Luciferian' light-bringer. As the
Shapechanger, he is clearly a figure of magic and the
supernatural. If we also accept the admittedly controversial
idea that Loki is also the God of Fire (based on the
possible etymological link between 'Logi' or 'wildfire' and
the name 'Loki'), we have another interesting theory
about the meaning behind the "SATOR" sqaure. Fire, as my
readers are no doubt aware, plays an important part in
Germanic ritual and magic. Like Loki, fire can either be the
creative 'giver of warmth' and the source of illumination,
or a destructive agent. If Pennick and the link Loki might
have with the element of fire are correct, then it is
possible that through the use of the "SATOR" sqaure,
medieval magicians were not only invoking Loki's aid, but
also affirming a simple fact about magic itself. Like fire,
they knew that magic can either be a positive force or a
negative one depending upon the operators' level of
knowledge and how that magic is used.
Whether the reader agrees with Ulfsson or Pennick, the
issue these men raise is an interesting one. If as they say,
Sćter is connected to the "SATOR" sqaure, then regardless of
which northern diety it is associated with, the sqaure has
deep roots in the northern magical tradition (however
"Christianized" it might later have become).
From the spells in the Galdrabók it is clear however,
that northern magicians of the middle ages practiced a
'mixed' form of magic (similar to the folk-magic of Mexico
today) combining Pagan and Christian beliefs. Therefore it
is possible that they saw the "SATOR" sqaure in both
contexts.
In the final analysis, all of the theories put forth
about the "SATOR" sqaure's origion, are pure conjecture. No
one is entirely sure about it's age, birthplace or the diety
it may have been linked to.
What we completely certain of is that northern medieval
sorcerors regarded the "SATOR" square as a powerfull magical
formula. It was employed by them in all manner of
operations. The sqaure saw use as a ward against negative
magic and a talisman for controlling spirits. It was even
said that an evil witch could not bear to stay in the same
room with the "SATOR" square.
The "SATOR" sqaure is mentioned by Stephen Flowers in
"THE GALDRABÓK ", on pages 48 and 50. He informs us that
this symbol was well-known to northern rune-magicians. In
addition to the example he furnishes us with on page 50, he
tells us that the sqaure has been found in at least 7 other
runic-inscriptions.
The "SATOR" square on page 50 was inscribed on the
bottom of a bowl found in Sweden and dates from the late
1300's (predating the material in the Galdrabók). It is
interesting to note that this particular "SATOR" sqaure is
incomplete. Normally the "SATOR" square would read: "SATOR-
AREPO-TENET-OPERA-ROTAS"(from top to bottom). Instead
we find only:"SATOR-ARĆPO-TĆNĆT". It is concievable that the
last two lines were considered secret, and known only to the
magician (whether this 'ommission' was common to other
northern "SATOR" sqaures I do not know, for want of further
examples). For a completed "SATOR" sqaure and its runic
counterpart, please see my Diagram 7.
Diagram 7:The "SATOR" Sqaure and Its Runic Equivalent
Aside from its possible use as a talisman against rival
sorcerers, the "SATOR" sqaure was also an important key for
magical incantations. Flowers mentions that many northern
magical books required the magician to recite the "sator-
arepo" during their operations. Flowers is unsure whether
this incantation involved the 'singing' of the runes of the
"SATOR" grid themselves, or if the runes where the key to
another group of sounds altogether. Personally, I believe
that we need look no further than the "SATOR" square itself
for the mysterious "sator-arepo" incantation. If this magic
sqaure acts like any of the ones that I have had experience
with, the process is a simple matter of signing the runes
as we sing their sounds, starting with "SATOR", going on to
"AREPO", then "TENET", then "OPERA" and finally "ROTAS". To
banish the magical energies we will have invoked by doing
this, the procedure is merely reversed.
 Naturally, this method of invokation is not written in
stone as 'the only true way' and I admit the possibility of
other approaches. Once again, I invite anyone to comment on
this matter who has worked a with a different procedure and
has realized a successfull result.
The last feature of classical Sigil-magic worth
examining is the timing of a spell-casting operation to
coincide with the most beneficial planetary days and hours.
Practitioners of western cerimonial magic (as the authors of
the Galdrabók certainly were) know that timing a magical
operation to align with the proper planetary forces adds the
extra 'kick' that might make the all the difference between
success and failure. While it is possible that medieval
northern magicians referred to southern tables of planetary
hours and their attributes, it is also quite likely that
they timed their rune-magic to follow the northern cycle of
the runes and the hours of the day they correspond to.
Anyone who has read Nigel Pennick's "PRACTICAL MAGIC IN THE
NORTHERN TRADITION" and "RUNIC ASTROLOGY", or Spiesberger's
"RUNENMAGIE", will be familiar with the system of 'runic-
hours' of the day immediatly. It is probably safe to say
that no spell using the Galdrabók's technology should be
undertaken without also ensuring proper timing of the
operation. This has certainly been my practice and I
recommend the same to anyone else attempting it. For details
on various methods for timing the 'carving' of runes in
Galdrabók spells, please refer to the various 'Construction
Projects' at the end of each design example.
With all of this in mind, let's get to work. We will
examine several Galdrabók designs with an eye towards
understanding their content and creating new versions for
our own use. In Part 1, we will address the composition and
creation of Terror staves (Óttastafur), Dream-staves
(Draumstafur). In Part 2, we will explore "Super-binds" and
finally in Part 3, the Helm of Awe (Ćgishjálmur).
Terror-staves (Óttastafur)
The 'Terror-stave' (so-named by me for a design on page
88 of "THE GALDRABÓK") and similar designs, are the most
basic expression of the pictographic method of Sigil
magic (please see my Diagram 8 and pages 91-93 of "THE
GALDRABÓK";Appendices: Related spells in Germanic Magic).
Here we see the subject(s) of the spell rendered in a simple
form with runic-variants attached to it, or depicted
in a more highly modified forms which are still simple
enough to convey the idea of the original stick-figure.
Diagram 8:Examples of "Terror-Staves"
The first design in my Diagram 8, shows a curved stick-
figure with what is in all probability, a rigid variant of
Tyr. The second pair of figures is even simpler and seems to
employ the stick forms by themselves without the benefit of
any runes.
The same may also be true of my third example
(although I have the strong suspicion that the 'arms' of
this figure employ a rounded version of Gifu and the third
'leg' helps to create a variant of Eihwaz). This particular
Sigil is supposed to grant victory over others (when worn in
secret under the arm) and that may explain the use of these
two runes in its design.
Construction:
Our work will be divided into four stages: a)Basic
Intent (the concept behind our project), b)the Design
Stage (composition), c)the 'Carving' stage (the actual
magical operation), and d)Application.
a)Basic Intent
Borrowing from a spell in the Galdrabók, let's assume
that the purpose of our Terror-stave is to win an individual
in a business dealing over to our point of view.
b)Design
Our 'target' is drawn as a simple stick-figure.
Appropriate runes are then added to the figure in a modified
form (in this case, rigid variants of Wunjo and Tyr). From
this point, we can modify our image into a curved form to
give it less of the feel of a simple drawing and more of the
look we would expect in a magical sigil. The final result is
a pictographic bind (please see my Diagram 9 for the steps
used). Checking our math, the total numerical value of our
Terror-stave is 25 (Wunjo=8 and Tyr=17). 25 is divisible by
5, the number of order and time, and a powerful sum when
used in magical operations.
Naturally, if we had not arrived at an appropriate sum,
we would have been forced to add in additional runes until
we arrived at it (for the same reasons we would do this in a
conventional bind).
c)'Carving'
With our stave designed, we a ready to 'carve' 'redden'
and 'sing' the actual talisman. To properly align our
magical working with the runic-hours, we would consult a
reliable source for the proper times and schedule our work
to coincide with them (such as Pennick's "PRACTICAL MAGIC IN
THE NORTHERN TRADITION", Spiesberger's "RUNENMAGIE" or some
other text). In this particular case, we would 'carve' and
'sing' over the first rune, Tyr and our main pictograph at
5:00 AM and inscribe Wunjo later that evening at 8:00 PM. If
for some reason this schedule was not feasible, a more
convenient schedule could be arrived at by basing our work
solely upon the time of the rune which best expressed the
overall intent of the spell. For this Terror-stave, the rune
would be Tyr and our working time 5:00 AM.
Once we established 'what' we will build and 'when' we
will build it, the next question will be 'how' we will go
about our work. If we desired to follow in the footsteps of
the Galdrabók magicians, we would make sure to begin and end
our ritual with a recitation of the 'sator-arepo'
incantation (along with prayers addressed to the appropriate
Gods and Goddesses). As far as the actual 'carving',
'reddening' and 'singing' operation went, the procedure
would be the same as with any conventional bind. The only
other item worth mentioning here is that in keeping with the
simplicity of Terror-staves, we have not 'personalized'
the final product (i.e. added in the name in runes of our
'target'). We must therefore make sure that we have fully
visualized the person we wish to affect and the desired
result as we work.
d)Application
The completed rune-sigil will be worn as an amulet, or
as the authors of the Galdrabók suggest in a few cases,
drawn on a piece of parchment and carried in a pocket when
we next meet with our subject.
Diagram 9: Construction of a "Terror-stave"
Dream-staves (Draumstafur)
Examples of the Draumstafur or Dream-stave can be found
on pages 85 and 86 of "THE GALDRABÓK" (see also my Diagram
10). Their purpose is exactly what their name indicates; to
cause specific dreams.
The forms expressed in Figures A and B of Diagram 10
use what appears to be an open variant of Thurisaz (the
classic 'sleep-thorn') acting as an encirclement around the
other runes employed in the spell. This symbol has circular
terminators at its' ends. According to Edred Thorsson in his
book "NORTHERN MAGIC" in the section dealing with the
Ćgishjálmur, circular terminators act to re-circulate the
energy of the spell back to the design and to the subject
the spell is intended for.
Diagram 10: Examples of "Dream-staves"
The first Dream-stave in our Diagram, Figure A, shows
the addition of a variant of Thurisaz (in its' rounded form)
and Pertho. This Draumstafur, according to the Galdrabók's
text, is designed to induce any dream that is desired by the
operator.
In our second dream-stave (Figure B), the main body of
the Thurisaz-encirclement is free of other runes, but we
find what appears to be Tyr in a fairly conventional form
branching off one of its' corners. This stave is designed to
bring dreams to another, without their knowledge. It is
possible that Tyr was included in this stave to overcome the
subjects' natural psychic resistance to an outside
influence.
Our third example is a complete departure from the
previous two designs. Figure C shows an example of four
runic bind-forms, working together in concert. These binds
have been rendered in rounded form according to the rules of
Sigil-magic.
Construction:
The steps we will take to construct our Draumstafur are
the same as those we took with the Terror-stave. As before,
we will start with our basic intent.
a)Basic Intent
In this case, we wish to create a dream-stave that will
induce astral travel while we sleep.
b)Design
Because I prefer the encirclement by the Thurisaz
variant (as expressed in the Figures A and B of Diagram 10),
we will use it as our template for creating a custom
Draumstafur.
It is then a fairly simple matter for us to select the
appropriate rune or runes to aid in inducing the desired
state (with their total numerical value in mind). In this
case, we will choose Ehwaz (for faring forth), Thurisaz (for
applied power) and Fehu (chosen because it is the "sending
rune" and for its added numerical value). The runes will be
drawn in rigid and rounded variant-forms and included in our
final design (please see my Diagram 11 for this example).
Including the Thurisaz encirclement, this Draumstafur will
total 54, which is divisible by 9 and 6 (both numbers of
great power and force).
Diagram 11: Construction of a "Dream-stave"
c)'Carving'
Using the long method, we would schedule our 'carving'
operation to begin at 3:00 PM for Thurisaz and the
encirclement and continue my work at 7:00 AM the following
day for Ehwaz. The final rune, Fehu, would be drawn and
charged at 1:00 PM. (for another schedule, please compare
this with the alternate 'short method' suggested in the
creation of the Terror-stave). In addition to properly
timing our work, we would also make sure to invoke the
'sator-arepo' formula and our patron deities at each stage
of the magical operation. 'Carving', 'reddening' and
'singing' would of course, be performed in the normal
manner.
d)Application
Our completed Draumstafur would drawn either on
parchment, or etched into wood (or another permanent
medium). This stave would be placed where we slept so that
it could do its' work.
This concludes Part 1 of "UNDERSTANDING THE GALDRABÓK".
In Part 2, we will explore the complex and powerful "Super-
bind" and learn how to create these enigmatic forms.
For comments about this article or to contact the author,
please write to [e-mail]
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